The album contains pieces by the composers Mário Del Nunzio and
Henrique Iwao, composed specifically for dance performances.
Mário Del Nunzio’s words about the album:
In the musical works I have so far developed for dance, it was clear that the music would have absolute autonomy in its conception (except for its legnth), and this technical and esthetical autonomy was expected by the directors I've worked with; but, at the same time, some dramaturgical-thematic content was to be shared, thus, the final work being constituted by these two parallel visions attributed to a pre-determined subject.
Both my works present in this album,"Vermelho" and "Down the rabbit's hole ou Pourquoi tu pleures?", were composed for dances directed by Melina Scialom. The first piece, "Vermelho", uses fragments from sound sources in some way related to the color red ("vermelho", in portuguese), and is also structurally symbolically related to such color (using proportions from Luigi Nono's "Il canto sospeso"). These fragments were submitted to extensive and detailed treatments, resulting in some thousands of different sound files - which makes the timbral differentiations of sounds from the same (or, at least similar) sources a determinant factor in the constitution of the piece. The other piece is entirely based on recordings of myself playing the piano, which had previously defined harmonic structures, as well as highly energetic explosive improvisation; its sections are defined by their gestural typology, by different degrees of electronic transformation of the piano sounds and by the hierarchical distinctions between layers of processed and unprocessed sound material.
Henrique Iwao’s words about the album:
Dance Music cause it's the rythim of the night. Music for dance since in the beggining of myself electronics and movement. And all those Humphrey classes and Contact jams and a Forsythe workshop done somewhat a dancer. Also, I've never met someone who goes to the dance theatre as one would normally go to the movies. And I still worry that every work should move.
. My first electronic music; it is the 5th version of the soundtrack for the dance "Ensaio Sobre Eu2" - by Melina Scialom {track 03}.
. The "French Trilogy" (based in works for dances by Juliana
França): I. The first part of the soundtrack for the dance "Sobre a Pausa" {track 05}; II. A song made using fragments from the second part of the same choreography plus spoken words by Lucas Araújo (from another music of mine - "Filme Tosco") {track 02}; III. A music that uses as compositional material the soundtrack (made together with Lucas Araújo) for the dance-video "Sorriso a Menos 10" {track 06}.
. “Sobras do InLudere – Dança da Laranja” has its origin in an unused soundtrack piece for the dance "InLudere" - by Ana Carolina Sotratto, Carla Sandim, Nina Giovelli & Juliana França, directed by Joana Lopes {track 04}.
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Mário Del Nunzio (1983, São Paulo, Brazil). Composes electroacoustic and instrumental music, plays with improvisation and non-written music groups, and also works as an interpreter of contemporary music (electric guitar and live-electronics).
Henrique Iwao (1983, Botucato, Brazil). Composes electroacoustic and instrumental music; plays with improvisation and non-written music groups (piano, keyboards and electronics); does soundtracks for dance. Produces experimental music events in São Paulo.
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